OGDEN – The Ziegfield Theater, a cornerstone of Ogden’s theatre community is beloved for its raucous, sometimes bawdy, and always entertaining productions. Something Rotten!, directed by Jennifer Westfall, is all three. The 2015 musical, with book by Karey Kirkpatrick and John O’Farrell, music and lyrics by Wayne Kirkpatrick and Karey Kirkpatrick, won a well-deserved Tony Award (and was nominated for 10) after it’s Broadway debut. The show, with title taken from Shakespeare’s Hamlet, is an uproarious parody of both Shakespeare, and the modern musical itself.
It is the story of playwright/actors Nick and Nigel Bottom – fictional, less famous contemporaries of the superstar playwright, William Shakespeare, played by Colton Ward. Struggling to compete with the famed Will, Nick Bottom, played by Caleb Parry, visits a soothsayer named Thomas Nostradamus, played by Austin Payne, for guidance on the next big thing in theatre, as well as what will be Shakespeare’s greatest hit—intent on exploiting both to his own advantage. Nostradamus’s imperfect yet adjacent prophecy leads the Bottom Brothers to produce a high-energy Elizabethan musical called Omelette, replete with Shakespearean and modern musical references galore. Zig’s production is a riotous good time.
Westfall’s Director’s Note mentions how, in the midst of global unrest, can she direct something as inconsequentially silly as this show? Her response was, “How can I not?” It has been said that in times of turmoil and oppression, joy itself is an act of resistance, and this show is indeed a tonic for and counterpoint to the broad discontent in the world today. In many ways, theater serves as a refuge from, and source of rejuvenation to steel us for, what we face in our daily lives.
Under Westfall’s capable direction and Keely Parry’s skillful choreography, the show is a refuge of laughter in a storm of confusion. I’m always impressed with what can be done with a large cast on Zig’s small stage, and Parry’s choreography shines. Spanning the breadth of musical dance forms, the choreography alone is able to parody a wide array of musicals. From the top of the show with “Welcome to the Renaissance”, through rock-concert-esque “Will Power”, to a full tap number (including an uproarious tap battle between Nick and Will) in “Bottom’s Gonna Be On Top”, and more, the choreography is tight, fun and energetic throughout the production.
The set design by Erica Choffel is satisfactory, flanking the stage with stairs to elevated platforms, allowing entrance from below each, giving visual interest to the staging. The set dressing comes across as a bit cluttered, though humorously so, the low center platform excessively bedecked with what looks like your grandmother’s woven straw trivets painted in various bright colors. Hilarious bust and torso statues belonging to Will, with nameplates simply stating “Me” and “Also Me” adorn the stage. Lord Clapham’s rolling chaise lounge is also an entertaining touch. Played by Arie Allred, Lord Clapham is able to demand conveyance at the clap of a hand from a servant who pushes or pulls the opulent contraption across the stage. From simple Tudor architecture to the inside of the Globe Theatre, the projections by Troy Martell worked well to set the scene and give a perception of depth. As the show progresses, unexpected fireworks flank Will’s performances to thrilling effect.
The show opens a bit lackluster, with the minstrel setting the scene for the show at hand. The energy picks up however in the opening number, “Welcome to the Renaissance”, with an upbeat introduction to the cast and lively ensemble. A notable standout in the Ensemble is Mejai Perry, whose energy is contagious. Parry’s Nick Bottom is bursting with intensity from the start, especially evident in “God, I Hate Shakespeare”. Jonas Stone’s Nigel Bottom couldn’t be more different than his brother Nick. Stone’s lanky, soft-spoken, likeability an apt counterbalance to his brother’s intensity. The physical comedy of Payne’s Nostradamus is excellent, receiving prophecy as if in the throes of intestinal distress. Later, in a hilarious nod to more local culture, we find Nostradamus dictating revelation received while peering into a top hat, as Nick scribes with a feathered quill.
Joan Dunn as Bea Bottom, is outstanding with an impressive vocal ability evident in her belted solos in “Right Hand Man”. Arie Allred excels in multiple roles – Lord Clapham, Judge, but particularly as Shylock, comically sporting an anachronistic dialect, sprinkled liberally with Yiddish. Of course Something Rotten! requires a villain we can love to hate and Ward’s Will Shakespeare is both detestable and charming in his delightful arrogance.
Costume design by Karly Van Komen is superb. The colorful and eclectic pieces steeped in Elizabethan styled silliness are delightful. Notably, Nick’s colorful, but oddly cut jerkin fits him in just the right awkward way, making his humorous rants that much more comedic, just through the odd movement of his jacket. Bea’s mushroom cloud of a hat is likewise notable for comic effect, and Will’s black leather trenchcoat and giant codpiece deserve their own curtain call.
The culmination of the Bottom Troupe’s musical within a musical is stellar, with a litany of nods to modern musicals from Newsies, to Chicago, Cats, and many many more. For fans of both Shakespeare and popular musicals, this show is packed with delightful references to both. The Zig goes all out again, in all the best ways, with their unapologetic feel good production of Something Rotten!.
MORE INFO: SOMETHING ROTTEN is currently playing at The Ziegfeld Theater (3934 Washington Blvd, Ogden, UT 84403) through May 30, 2026, and at the Egyptian Theatre in Park City, June 3-7, 2026. Tickets are $25-$27. More info at zigarts.com.